Thu 23 May 2019 | 8:00 pm - 9:00 pm
Almacen - Hapninim 1, Tel Aviv,

*VIP intimate concert*
*Earlybird tickets availble now*
By Castle in Time Orchestra & Stephen Horenstein

Castle in Time Orchestra – Soundpainting

“Full of enthusiasm and talent”
Ben Shalev, Haaretz
“You can feel ingenious in the orchestration and composition…”
Avia Farchi, Mako
“A very very very unique sound that I never heard before”
Elad Madan, Davar Rishon

Since its first concert, the orchestra practices and performs improvisation, a rare phenomenal for an orchestra. In the beginning our improvisation was intuitive and took part only in the encores of each show, and with time eventually became established, integral and an inseparable part of the essence of the orchestra.
Soundpainting allows us to improvise with sound, movement, visual art, light design and more. An improvised orchestral concert modularly fits itself to a specific space, time, content and amount of performers while providing a unique virtuose vibrant experience.
Conductor: Matan Daskal | Synthesizer: Yonatan Daskal | Harp: Ada Regimov | French horn: Tsviki Moran, Ofer Etzioni | Percussion: Shalev Ne’eman, Pablo Ordas | Electric guitar: Yeonatan Shachar | Computer: Assaf Meidan | Flute: Rachel Mazor | Saxophone: Oved Pinchover | Oboe: Mariona Godia | Voice: Yotam Mahler

One as many – Real time Composition by Stephen Horenstein

Solo for bass clarinet, live electronics and objects
Dedicated to the memory of Pesach Slabosky

“Horenstein’s music is a sound universe where time flows in a sacred dimension”
Jacques Freschel, Zibeline Journal
“Musical metaphor for a country’s soul…”
Bernard Holland, New York Times

The art of the solo: the instrument transformed into orchestra; breadth of range, frequency, dynamics, timbre, speed, tonal centers, intervals, use of space, creating the illusion of many instruments playing. A cinema-graphic use of parallax—long, short, quick cut, fade, close up pan, return to long shot. A boxer mixing his punches, always surprising: short jab, another, wide hook undercut to jaw—The very eye in constant motion, the ear as eye.

The solo is the defining moment for an artist. It involves intense concentration. The stark terror of aloneness against a black void, against silence…with no active partners…I was taught: “Play as if it is your last day on earth and what you’re going to play is what you’ll be known for, for years to come”…Without this definitive moment of “truth”, this art form is spineless. It is the defining moment of a player’s craft, passion, powers of concentration, spirit and absolute need to play—the summation (and consummation) of thousands of hours of practice, knowledge and feeling.

The training is first and foremost a training of the mind. It is a balance between intuition and cognition, between developing an unblocked flow of ideas and the honing of skills needed to make those ideas. The balance is in the daily craft, with an instant recall of ideas compressed into those moments of craft. To create is to create something new, with an inner logic and cohesion, as well as expression. The language is self-generated from within, and, as apart from the other streams of creative music, the hinted historical “style” is undesirable. What is desirable is conviction and uninterrupted flow of ideas
The training is also training of the body: both relaxed and tense. The training is also one of listening: adapting to environments and situations, open to change of direction—in a flash
After all, we only know one moment

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